Authors

Kai Fierle-Hedrick

Biography

Born Toronto, Canada. A mixed-media writer whose research interests circle around collaborative, community-engaged practices. Kai holds an MPhil in Architecture and the Moving Image from Cambridge University [UK] -- and has worked as a Project-Assistant for the interdisciplinary consultancy General Public Agency, spent two years developing and facilitating cross-disciplinary writing workshops for the East-Side Educational Trust, and from 2006 to 2007 also taught as a visiting lecturer at Royal Holloway, University of London. She now currently lives and works in New York City as Director of Programs & Community Partnerships at the non-profit Free Arts NYC, and notes about her on-going projects can be found at www.orium.org.

Meditations On The Artist As Eve, Meditations On The Artist As Desire, Meditations On The Artist As The Artist; 3 poems published in the catalogue for the exhibition Compositions 1 (Montreal: Echophilia Collective / Lotus Eaters Gallery, 2001).

The Publishing Game; CD-ROM documenting a set of Year 12/13 students from City of London Academy as they produced their own magazine "for youth, by youth" (London: Arts Council England / East-Side Educational Trust, 2007).

UntitledPerformance; read poems for a web-linked performance between London, Prague, Berlin and Belgrade that included live music and video projections (Belgrade, Serbia: O3ONE gallery, May 2006). www.o3.co.yu

Six short pieces for piano after 'String Theories' by Kai Fierle-Hedrick;collaboration with composer Panayiotis Demopoulos, premiered by concert pianist Sara Nicolls (York, UK: York University, 20 May 2005).

A portrait of the site as time;installation/essay designed for 3 data projectors & 6 speakers [Cambridge, UK: Cambridge University Department of Architecture, July 2004].

Sample Text

Manipulation in particular seems to play a significant role as a strategy of dealing with the world and assumed reality. [...] Manipulations and deceptions become guidelines in a pursuit of communication and a proper place -- but first of all -- they are instruments to investigate never-too-near-approached phenomenon of truth. * Adam Budnek, for the 2005 International Biennale of Contemporary Art in Prague

the contemporary interior here short-circuits alienation | sums Prague as this woman or that woman browsing packaged hours | i.e., tram times to plot arrivals | how this man quotes tourism as asymmetric opportunity | their lives in ochre chapped by the same, pale city | or costume change | a time of day, say 6pm, undressing its turnover with the command to ponder regularlity | substance some moving thing or metronome | their conversation, rhythm poaching the page | like other countries, interrupting as spectacle made norm by the universal of cafe culture | junctured, caffeinated, common grounds, the rhythm of human digits drilling and dwelling | swigging, twiddling their high- strung ways as a taut boredom | the preferred mantra an elastic gainsaying i.e., how she overhears 'I was just traipsin' streets when...' and waxes meaningful | falls prey to another sham mayhem as stained glass lamps bearing fruit indeed might break| her foreign prerogative to evade even cross-cultural ruts by any means | the vital act to fictionalise the local as events | let loose the abstract, fatten narrative, exaggerate, befuddle, fuck up the line | we love this, she and I, for its schizophrenic stealth | we, double-time, risk ethics through meddling | spurn talk as ornament and aim for the blunt and dusted buildings, their striations and back-lighting | by proxy mark observation as a misfit stalker | interlopers as postcards by Durex quoting condoms as flying saucers| the clatter of wind-chimes of panes of glass | reflective | proving our patronage or my tiger of a t-shirt and foreign cheek bones bunk presence as witness | a sigh of bloody eureka and scribbling nicks the place